Some assembly required

One of the most helpful things I have learned over the years as a music director and liturgical musician is to listen to your assembly.  Yes, this means listen to their comments, their input, and their opinions, but more importantly (I think) how are they singing?

Maybe I'm wrong - argue with me if you want - but that is really how I gauge the 'success' of what I am doing as both a music director and a liturgical musician. To me, that's my goal.

If you are playing in a wedding band, that's not your goal. Instead, you want to see people on the dance floor having a great time, totally into what you are playing.

If you sing in theatre, that's not your goal. Instead, you want to portray the music and character well so it fits dramatically into what is happening within the story on stage.

If you are a classical musician or soloist, that's not your goal. Rather, you want to give your best performance of a classical masterpiece, interpreting the music in your own style, but still keeping within the traditions of the music.

In church...in liturgy...my goal has always been to 'engage' the assembly. (I know some of my critics tire of the word 'engage,' but the term works well for me.)  Most of the time, maybe 95% or so, that means 'get them singing.'  It can also mean engaging them as a listener...focusing on the music and text of a piece of sacred music by not singing. Maybe the music is performed by a schola or soloist. But that is not the norm in my parish. Almost everything we do, vocally, includes the assembly.

So, how can you tell, I mean REALLY tell if they are singing?  I know that, seated in the music area, I get quite an earful of the instrumentation and singers who are leading the music. Unless we are in a quiet section of a song, or a 'breakdown' section, it's more difficult to hear much of anything else.

Don't listen to what is coming off of the soundboard

So often, when a band wants to hear what they sound like, they will run a line out of the soundboard and into some type of recorder. The result is usually a pretty 'dry and brutal' recording of the music. You are only hearing what is coming through the channels on the board. You're not getting any sense of what it sounds like to the people in the pews...or what they sound like.  EVERYthing stands out: wrong notes, wrong chords, pitchy-ness in the vocals...everything. It's often depressing!

Instead, try this: take two choir mics (condensers work best) and set them up so they are toward the rear of the church, and pretty high up. We hang ours over the balcony and it works well.  If you had to put them on mic stands and raise them as high as they could go, that'd work, too. Then, run these mics into some type of a recorder. There are tons of mp3 recorders out there that are pretty inexpensive. Pan one to the left and the other to the right. (stereo) At the beginning of Mass, turn on the recorder and let it roll the whole time. Afterwards, you will be able to listen to what it sounds like in the room...what it sounds like to the assembly.  You will also hear them singing...or not!

Some mp3 recorders come with a built-in set of stero mics. This can work great as well! Just set it up high in the back somewhere and let it run.

When we started webcasting at our parish it was really important to me that we didn't run a 'dry' signal from the board to the internet. It just wouldn't be a true representation of what we are doing. Listen to some of the videos I have posted on this blog. These are from our weekly webcast. The mics are hanging in the back of the church. They are being recorded onto Ustream without any other post-production.  Sure, sometimes you can't hear something that is being spoken as clearly, but it seems to work great for evaluating the music...and the singing.

Some videos to listen to: (used for various topics on this blog)

 

 

February 17, 2013 – 1st Sunday of Lent

(These songs are off of my planning notes for this particular Sunday, which means I am strongly considering using them on these days. After each title I’ve added some thoughts to consider.)

(Click on titles for links to their respective pages.)

40 Days by Matt Maher (spiritandsong.com) - as the name would suggest, this is a great song for the season of Lent. The refrain speaks of "the desert of tempation," very fitting for today's gospel reading. A good medium-fast tempo song, sometimes hard to find for this season. (From the CD Welcome to Life)
Suggested use: Offerotry/Song of Preparation, Dismissal/Song of Thanksgiving


Be With Me, Lord by John Angotti (WLP) - from John's liturgical collection "Joy Beyond Our Dreams" this is a beautiful setting of Psalm 91. Using the minor key in the refrain really gives it that "lenten" sound. Plenty of choir parts to go around if you want to fill it out, or it can be done by one or two voices.  (From the CD Joy Beyond Our Dreams)
Suggested use: Responsorial Psalm, Song of Meditation


Be With Me, Lord by Tom Booth (spiritandsong.com) - assemblies love to sing this song. The refrain just draws you in.  A soloist can carry the verses if need be, even improvising a bit, or they can be done by all. (From the CD The Best of Tom Booth)


Forever by Chris Tomlin - one of my all-time favorite Chris Tomlin songs. "Forver God is faithful! Forever God is strong!" Beautifully simple lyrics with his signature sound that has been leading people to worship for years. This song works great as a Song of Thanksgiving/Dismissal. Teach the assembly to carry the part of the verse that goes "His love endures forever!" Instrumental parts are available through WLP.
Suggested use: Song of Thanksgiving/Dismissal


Journey for Home by Ed Bolduc (WLP) – written as a parish Lenten theme song back in...a long time ago...this one seems to have lasted through the years. Written in 6/8, it has a very singable refrain and an assembly part in the verse. It also seems to work well at many places in the liturgy.  (From the CD The Face of God.)
Suggested use: Entrance/Song of Gathering, Song of Preparation/Offertory, Communion


Return to God by John Angotti (WLP) - another great song from John's Joy Beyond Our Dreams. The verses by Alan Hommerding are beautiful and so appropriate for this season. John added a great refrain and...the whole thing just works well.  This song also works well at many places in the liturgy.(From the CD Joy Beyond Our Dreams) This song is also a part of the More Voices As One vol. 1 collection. (see the link on the sidebar)
Suggested use: Entrance/Song of Gathering, Song of Preparation/Offertory, Communion


Take Up Your Cross by Curtis Stephan and Sarah Hart (spiritandsong.com) I fell in love with this song last year and so did our parish. It has a great fresh sound with a powerful opening lyric: "Behold the wood that bears our name..." (From the CD Amid Passing Things)
Suggested use: Song of Gathering, Song of Preparation/Offertory

Cue the drummer!!!

I think sometimes we underestimate the musicality of drums and what they can offer to the overall arrangement of a song, particularly when it comes to 'building' a song from the beginning. I mean, how often do you actually tell the drummer when to come in?  Do you constantly fall into the '1 2 3 4-everybody-in-from-the-top' type of playing? Or is there some creative arranging happening?

I guess what I'm saying is that the drums are really important to the musical impact of a song. Don't just think of them as 'keeping the beat' but rather as another instrument in your orchestra. Just like in an orchestra, a flute shouldn't play every measure of the song, or a trumpet, or strings or ANYthing...neither should the drums. Use them musically.

This past Sunday we sang "How Great Is Our God" by Chris Tomlin, Ed Cash, and Jesse Reeves as our Song of Gathering. The following video segment shows how we began with just piano, then added guitar, then bass, and finally drums on verse 2. That's right...only hi-hat and cymbals at first. The full drums came in after the first refrain.

The song sounded fine...great actually, without the drums playing. In fact, no one probably even noticed they weren't there. Everyone was singing and (hopefully) engaged. Then, when the drums did come in...it was even more powerful and added even more to the song. It kept building!!!

Notice, also, how all of the vocals are in unison until later in the song. I like to think of the assembly as the primary voice in a song like this. Notice how you can hear their voices.

Here's another example of a song by Rita Baloche called "Flowing River." We played the whole first part of the song with just guitar, piano, and vocals. (I probably would've used a synth pad, too, if we had one.) The drums come in on the repeat of the verse. Again, they are not just 'keeping time,' but rather adding a nice 'feel' to the rhythm of the song.

This is a useful tool because a lot of times we are beginning a song from a quiet moment in the liturgy. It's a great invitation to start a song softly, then build. It also makes the times you start a song 'loud and strong' a nice contrast. I think the assembly responds to this.

Please consider using both of these songs in your liturgies. To me, they are both classics and I've found that they fit well both lyrically and musically. Our assembly has responded extremely well to these songs.

Next week I'd like to talk about 'recording' your assembly and getting a sense of what it sounds like from the pews!
 

 

February 10, 2013 – Fifth Sunday in Ordinary Time

(These songs are off of my planning notes for this particular Sunday, which means I am strongly considering using them on these days. After each title I’ve added some thoughts to consider.)

(Click on titles for links to their respective pages.)

Change Me by Tom Booth & Israel Houghton (spiritandsong.com) - one of my favorite Tom Booth songs. This unique song has a very memorable refrain with a powerful message: "Change me, Lord, and I will change my world."  This would serve as a great Song of Preparation or Dismissal. (From the CD Change Me)
Suggested use: Song of Preparation/Offertory, Dismissal/Sending Forth

Come and Follow Me by John Angotti (WLP) – right out of today's gospel, a classic John Angotti tune. (From the CD Common Ground.)
Suggested use: Song of Preparation/Offertory, Communion

Fish With Me by Ken Canedo (spiritandsong.com) - though I've never personally ever performed this song, I've heard it sung many, many times at various events. To me, the tempo works well as a Song of Preparation/Offertory or Dismissal/Sending Forth. (From the CD Love Never Fails)
Suggested use: Song of Preparation/Offertory, Dismissal/Sending Forth

I See the Lord by Paul Baloche (Integrity's Hosanna!) - the verse describes the vision of the Lord "seated on the throne; the train of his robe is filling the heavens." The refrain declares "Holy, holy, holy is the Lord God Almighty!" Great as a Gathering song or Offertory. (From the CD First Love)

Suggested use: Song of Gathering, Song of Preparation/Offertory

 

Make Us Your Own by Ed Bolduc (WLP) - a nice, lilting 6/8 with unison verses and simple harmonies on the refrain. "And though we can't see what is meant to be, be with us Bread of Life, Lord of all." (From the CD Awake to the Day)

Suggested use: Communion

 

We Fall Down by Chris Tomlin (worshiptogether.com) - this classic, wonderfully simple song says it all in a few words: "...we lay our crowns at the feet of Jesus." A humble worship song that works so well in so many places in the liturgy.

Suggested use: Song of Gathering, Song of Preparation/Offertory, Communion

 

Your Grace Is Enough by Matt Maher (spiritandsong.com) - Matt's classic song that has been covered and even re-arranged/re-written by Chris Tomlin. Check out both versions.

Suggested use: Song of Thanksgiving/Dismissal

If you do what I do, don't do what I did...

Week after week I hope to share some ideas with you that have worked in my parish in our music program.  We, of course, have tried them as well. Most of the time I'm happy to report that things go well! 

Well...a few weeks back I talked about using loops to help set tempos and even add some 'missing' elements to your live performances. We had only done a little of that up to that point, though it's done a lot by other contemporary groups. Over the past month, however, we've used at least 3 different loops...with 3 different experiences that I thought I'd share.  Hopefully, you can avoide some of the pitfalls we've had.  :-)
 
Monumental loop failure #1. We were starting Mass with "Awake to the Day" (WLP).  In my studio I created a loop similar to the one on the recording. (I don't have those original studio tracks.)  It was 6 beats long and just kept repeating (or 'looping.')  We practiced with it and everything felt great. When it came time to start the song, I looked over at our drummer to let him know I was ready for him to press 'play.' He did, but I forgot to turn up the loop in my monitor, so I missed the first part of it. Then, as I listened to it, I had no earthly idea where beat '1' was!  So, I just started...halfway through it. That made the whole thing just seem 'off,' especially to the rest of the band.
My bad...

Monumental loop failure # 2. We were singing Paul Baloche's beautiful song "Christmas Offering" on Epiphany. I had purchased and downloaded a great loop from PraiseCharts.com.  We practiced with it...and it sounded great. It came time to play the song at Mass, I looked over at our drummer to let him know I was ready for him to press 'play.' He did, but I forgot to turn up the loop in my monitor, (sound familiar?)  so, I was listening to what was coming out of the house system. Well, there's a place in the song right before the chorus where everything...including the loop...drops out completely. I had no reference of tempo since I didn't turn up my monitor...so we got off. Just enough to screw everything up.  So, our drummer shut off the loop and we played the song without it.
My bad...again.

Monumental loop failure # 3. We were introducing Matt Redman's popular song "10,000 Reasons" as a song of praise after communion. Once again, I had purchased a great loop, we practiced...all was well. Then, it came time to do the song.  I looked over at our drummer to let him know I was ready for him to press 'play.' He did, but I forgot to turn up the loop in my monitor, (I'm not kidding.)  The loop played this really nice percussion pattern with a synth intro...very cool...and very 'all-by-itself!'  I totally missed the countoff. Luckily, it was the intro and there were no vocals requred, yet.  I simply joined in with the piano and all was well.  But...geez...3 times?  I forgot to turn up my monitor 3 times? 

Our verdict?  We really love what the loops add (percussion, synth, extra gtr parts, etc.) and we're going to continue to use them...and just get it right!  I'm happy to say that everyone has had no difficulty staying with the tempo of the loops. As long as we follow the chart and stay with it...AND I TURN UP MY MONITOR...it all works great.  It's definitely added a new dimension to a few songs- as well as a nice challenge!

I just wanted to share this with you to show that I am not afraid to admit when things go wrong. I ain't no expert!  :-)  It happens all the time. As long as we can learn from our mistakes (ahem...3 times?) then that's what matters.

February 3, 2013 – Fourth Sunday in Ordinary Time

(These songs are off of my planning notes for this particular Sunday, which means I am strongly considering using them on these days. After each title I’ve added some thoughts to consider.)

(Click on titles for links to their respective pages.)

 

I Will Sing by Craig & Kristen Colson (spiritandsong.com) – This is an upbeat setting of psalm 71. Listen to the recording for some arrangement/performance ideas. If you've got a sax player, this might be a good opportunity to feature them during the psalm. (From the CD Fill Us With Your Love.)
Suggested use: Responsorial Psalm


Love by Ed Bolduc (WLP) - a contemporary, ballad-style, duet setting of this exact text. (From the CD Word for Word.)
Suggested use: Song of Preparation/Offertory, Second Communion


The Name of Jesus by Brian Flynn and Jeff Thomas (WLP) – a great, driving contemporary song which would be great as a closing song. (From the CD Born Again.)
Suggested use: Song of Preparation/Offertory, Song of Thanksgiving/Dismissal


He Has Anointed Me by Aaron Thompson (WLP) - we heard these words last Sunday (3OT) in the Gospel reading. Aaron has crafted this new piece for choir and piano, or playable by a band.
Suggested use: Song of Preparation/Offertory, Second Communion


Jesus, My Everything by Matt Maher (spiritandsong.com) - Matt's signature melodies and chord changes are present here in one of his most beautiful songs. Keep it simple with just guitar or piano, or fill it out with a full band. Maintain a gentleness about the arrangement, though.

Help! My music stand isn't big enough for this song!

Last year at this time I wrote a post called "Chart Your Progress(ions)" which talked about making sure you had 'easy-to-read' or 'easy-to-follow' music for your musicians. Often times a piece of music is 3 or more pages long, even as a lead sheet. That is just plain difficult to work with, especially if you only have a single music stand. Guitarists and bassists have to stop playing just to turn the page or move sheets of paper around. Then there are the many various endings, D.S.'s, Codas, etc. You tell them "We're not going to play verse 3, but repeat the refrain after verse 2, then jump back to the intro and back to the Refrain" or something similar...and it's just asking for a train-wreck!

I'm always reminded of this when holidays come around, as it seems there are always quite a few 'subs' sitting in when your usual players go out of town. They're are often not familiar with a song and are planning to 'read-it-down' when it comes time to play. Having their music organized and in order is crucial to the success of the performance.

Here's an example of a song by the Jacob and Matthew Band: "Give Glory."  The lead sheet version of this song has 3 pages and is engraved in a way that the music spacing favors the lyrics AND the notes at the same time. Consequently, it is 3 pages long...not bad...but that can create a 'speed bump' for your players when trying to put a song together quickly and efficiently.  Here is page 1 (of 3) of the lead sheet:

For someone who just needs to be able to follow along quickly and easily, and know how each particular section should be played, a rhythm chart can be much more effective. Below, I've attached a sample rhythm chart of this song.  (This is a sample I've created of a song that is published by World Library Publications, which is currently developing it's own style for rhythm charts.)

Notice it's only 2 pages. Notice that the vocal line isn't there. It doesn't need to be. There are just lyric cues. The measures, however, do contain slash notation to indicate the beats. When a particular rhythm needs to be played, it's marked with slashes as quarter notes or eighth notes.  A few instructions help the drummer know what to do with the bass drum (BD) and snare drum (SD). The bass guitar (BG) can see when to play whole notes or eighth notes. The electric guitar (EG) sees the same. The section headings are bolded-faced and set inside a box. Those on the left margin are actually set outside the margin so they can be spotted quickly.

It's easier to follow for a rhythm player. They don't need to see vocal parts, slurs, lyrics, word extenders, multiple endings that incorporate a slightly different vocal rhythm, etc.  All of those things take up a lot of space on the page. This is more concise and crafted for just what they need to do.

So, where do you find these?  

Some publishers are starting to do this with some of their contemporary music. At voicesasone.com these are going to be a part of the new 'bundle' packages you can purchase. They will target contemporary songs that have lead sheets longer than two pages.

A really great resource is the website PraiseCharts.com. You can find ALL kinds of charts available for purchase for almost every contemporary worship song that has been successful. I, myself, have used their charts many times and have found them to be very useful and valuable. Check them out and look at some of their sample charts.

Or, if they are not available by any publisher, you could create your own for a bass player or a guitar player. I'm sure if you called and asked permission to do so a publisher would either grant it or charge a very, very nominal fee. We're talking about something for one or two players. And, we're talking about making the song successful!

Good luck, and make great music!